Rebecca Maloy
- Published in print:
- 2010
- Published Online:
- May 2010
- ISBN:
- 9780195315172
- eISBN:
- 9780199776252
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195315172.003.0002
- Subject:
- Music, Theory, Analysis, Composition, History, Western
This chapter explores the origin and chronology of the offertories through examination of their lyrics. Many offertory lyrics depart from the Roman psalter, perhaps suggesting an origin outside Rome. ...
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This chapter explores the origin and chronology of the offertories through examination of their lyrics. Many offertory lyrics depart from the Roman psalter, perhaps suggesting an origin outside Rome. An examination the psalmic lyrics indicates that they are extensively modified from the biblical sources. The centonization suggests that the respond lyrics were created to be sung with verses and that verses were, in many cases, part of their original conception. An examination of certain nonpsalmic offertories in the context of the Old Hispanic and Milanese repertories yields new evidence of non‐Roman origin. Most nonpsalmic lyrics are based on Old Latin sources rather than the Vulgate, suggesting a pre‐seventh‐century origin. Finally, the chapter considers the nonpsalmic offertories outside of the core Romano‐Frankish repertory. Most are based on Old Latin sources, suggesting a pre‐Carolingian origin.Less
This chapter explores the origin and chronology of the offertories through examination of their lyrics. Many offertory lyrics depart from the Roman psalter, perhaps suggesting an origin outside Rome. An examination the psalmic lyrics indicates that they are extensively modified from the biblical sources. The centonization suggests that the respond lyrics were created to be sung with verses and that verses were, in many cases, part of their original conception. An examination of certain nonpsalmic offertories in the context of the Old Hispanic and Milanese repertories yields new evidence of non‐Roman origin. Most nonpsalmic lyrics are based on Old Latin sources rather than the Vulgate, suggesting a pre‐seventh‐century origin. Finally, the chapter considers the nonpsalmic offertories outside of the core Romano‐Frankish repertory. Most are based on Old Latin sources, suggesting a pre‐Carolingian origin.
Leo Treitler
- Published in print:
- 2007
- Published Online:
- May 2008
- ISBN:
- 9780199214761
- eISBN:
- 9780191713897
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199214761.003.0007
- Subject:
- Music, History, Western
This chapter argues that the theory of centonization misrepresents both the practice that it is meant to explain and the criteria of value on which its products would have been judged in its time. It ...
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This chapter argues that the theory of centonization misrepresents both the practice that it is meant to explain and the criteria of value on which its products would have been judged in its time. It presents a static view of melodies and their component segments as objects, conceived as though fixed in writing, whereas they had to be made or remembered and apprehended in the flow of performance. Conceiving formulae as though they were stones in a mosaic, the theory cannot take account of their functions in the progression of melodic formulae. That constitutes not only a misrepresentation, but marks an inadequacy of the theory as an analytical theory. In its practice of labelling and classifying formulae it also falls short, for it raises but fails to resolve the problem of how formulae are to be recognized, identified, and compared. The chapter reinforces the demonstration of the preceding one that historical understanding must come from the analysis both of the evidence about the past and of the history of interpretation into the present.Less
This chapter argues that the theory of centonization misrepresents both the practice that it is meant to explain and the criteria of value on which its products would have been judged in its time. It presents a static view of melodies and their component segments as objects, conceived as though fixed in writing, whereas they had to be made or remembered and apprehended in the flow of performance. Conceiving formulae as though they were stones in a mosaic, the theory cannot take account of their functions in the progression of melodic formulae. That constitutes not only a misrepresentation, but marks an inadequacy of the theory as an analytical theory. In its practice of labelling and classifying formulae it also falls short, for it raises but fails to resolve the problem of how formulae are to be recognized, identified, and compared. The chapter reinforces the demonstration of the preceding one that historical understanding must come from the analysis both of the evidence about the past and of the history of interpretation into the present.
